Brazil – cri de coeur aux musiciens du monde
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L’ année dernière, l’Orchestre Symphonique Brésilien a celebré 70 ans d’activités. Selon l’administration de l’Orchestre, en 2010 ont été realisés plus de 100 concerts, pour un public estimé de 190 000 personnes. En cette même année le budget de l’orchestre a considerablement augmenté, avec des apports publics issus de la politique federale d’incentiver la culture à travers des reductions d’impôts.
Ce qui pourrait mener à un moment de récompense aux musiciens de cette orchestre – qui pendant des années ont perçu leur salaire avec des retards, ont fait face aux pires conditions de travail et ont sacrifié une grande partie de leur vie personelle en faveur de cette institution – se transforme en un drame sans précedents dans le monde de la musique. Seulement deux jours après le debut de leurs vacances – traditionellement au mois de janvier au Brésil – les musiciens ont été surpris par une lettre de l’administration de l’orchestre leur informant que tous les musiciens seraient soumis à des “avaliations de la performance”, avaliations établies sans aucun critère et sans aucune discussion préalable avec les musiciens, ou leur représentants. Ensuite, il a été annoncé aux musiciens que l’orchestre aurait ses activités suspendues jusqu’au mois de juillet, les concerts de mars, avril, mai et juin seraient efectués par le Jeune Orchestre Symphonique Brésilien, groupe d’étudiants, qui a pour objectif la formation de jeunes musiciens, et l’apprentissage de la musique en groupe. En même temps étaient annoncés des concours pour être admis dans l’Orquestre Symphonique Brésilien (OSB) à Londres, New York, et en dernier, Rio de Janeiro.
Cela montrait de façon claire un projet qui menerait à une demission colective d’une grande partie de l’orchestre, une situation absurde de changer tout un orchestre pour satisfaire les désirs d’une seule personne, le chef d’orchestre et directeur artistique Roberto Minczuk.
Depuis quelques annés l’orchestre et son directeur artistique n’ont pas une bonne relation, surtout après la demission en 2006, le 23 décembre, de 14 musiciens, et de ses nombreux essais de renvoyer les musiciens plus agés et tous ceux qui essayent de s’opposer à ses décisions.
En ce moment dificile, de nombreuses lettres sont envoyées aux musiciens par la direction de l’OSB, leur informant que l’absence aux auditions d’avaliation meneront à de graves punitions, voire même la démission. Malgré cette préssion, 56 des 82 musiciens qui forment l’OSB, ont décidé en assemblée ne pas participer à cette avaliation, en protestant contre le manque de respect, l’arrogance e le manque de dialogue auquel ils sont soumis.
De cette façon, nous demandons votre soutient contre cette violence à laquelle sont soumis les musiciens du plus traditionel orchestre brésilien, en empêchant que le premier des droits de l’homme – le droit au travail – soit bafoué et que les responsables de cette abérration assument leur responsabilités.
Deborah Cheyne Prates
Presidente du Sindicatat des Musiciens de Rio de Janeiro
I have played as a fulltime member of the Brazilian Symphony orchestra for thirty years, twenty of these as solo cellist. Before I came to Brazil I played for fifteen years as a professional orchestral cellist and chamber musician including the London Mozart Players and the BBC London, in England. I was recently honored by Her Majesty Queen Elizabeth II at Buckingham Palace for my services to Brazilian Music, and am an honorary citizen of the State of Rio de Janeiro .
I am absolutely horrified by the attitudes of both the Artistic Director, and the Administration of FOSB. Firstly by the fact that our orchestral season has been cancelled and the OSB has been substituted by a Youth Orchestra, and secondly that a group of loyal, highly professional musicians have been asked to take a test to see if they are good enough for their own orchestra.
As the OSB’s orchestral season was cancelled prior to holding these humiliating tests, this clearly indicates that the intention of the Artistic Director is to dismiss most members of the OSB. What musician in his right mind would face a test, knowing this fact?
How can some one who purports to believe in education, possibly conceive of a plan to substitute a highly experienced, successful and professional orchestral body with a youth orchestra? The orchestra is comprised of students who need to practice their instruments, study music and school subjects. They run the serious risk that in a few years, because of this forced professional work, which only highly qualified professional are capable of, and are trained for, will be burnt out and suffer problems such as muscle tension and mental stress, at a very early age.
One must remember that the OSB is a national orchestra that represents Brazilian music, and if replaced by excellent musicians from other countries, will certainly lose this identity. I stand together with my colleagues, who, over the past thirty years have helped me understand and interpret Brazilian music. Only after so many years of playing together with these most excellent Brazilian Musicians am I able to play as a Brazilian.
I take offense to the fact that our Artistic Director ,in his recent article says that any musician admitted into the OSB after he assumed the position as Artistic director, could play in any orchestra in the world. Does that imply that I and my colleagues would not?
I and many of my colleagues strongly believe in education. We teach in several important institutions and academic centers, as well as teaching in communities around Brazil. What hope can we give our students, if they see the jobs they aspire to in Brazilian orchestras being taken by musicians from abroad, who owe no allegiance to our culture and traditions?
How anti -ethical to see our own students, who play in this youth orchestra replace their teachers, knowing that they are to lose their jobs.
With funding anyone can create a fine orchestra of international musicians; but at what price? What will be lost is a national tradition, and opportunities for young Brazilians to develop careers in the orchestras of their own country. Artistic excellence is a worthy goal but the nurturing of youth and a recognition of national style seem to be superior values to me.
I call on a halt to this madness. May the excellent labor laws of this country be enforced to stop the random acts of this despot, who seems to be intent upon wrecking the lives and careers of so many Brazilian musicians. It is relatively easy to replace a conductor, impossible to recreate a National style of music making that the OSB represents. This orchestra is ready to work at the highest level in tandem with any conductor who can show respect and vision for our ensemble.
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David Chew OBE
President -Founder -Musical Director O MUSIC
Rio International Cello Encounter(RICE)
Rio de Janeiro
www.riocello.com</span>
<span>www.davidchew.com.br</span
Yes, but what would iconoclastic cellist Italo Babini say?
Knowing his playing and the speed of modern technology ,I think he may have said, Sit back and enjoy the show.
Esta é uma atitude bastante despótica do maestro M. que não percebe. apesar do homem inteligente e preparado que parece ser, as consequencias nefastas e destruidoras desta medida violenta e sem justificativa honesta.
Será que o maestro tem ideia do que seja uma avaliação de qualificação? Especialmente sob a pressão que produz um clima de revolta como o que grassa no momento na OSB? Faça um concurso de ADMISSÃO para os jovens que (ainda) deaejarem fazer parte desta orquestra que era realmente muito boa e orgulho de todos nós.
Não jogue fora os valores que até agora encantaram nossos ouvidos. Ao contrario, estimule-os para que entusiasmados por um líder de verdade se superem e atinjam o climax de uma orquestra madura, que poderá ser internacionamente famosa
I left Brasil a long time ago. The support I nedeed to further my musical education I COULND’T FIND IT IN MY OWN COUNTRY but I had it given to me by the German Government with 3 years schoolarship at the Academy of Music in Munich…were I also belonged to the Munich Chamber Orchestra…..In 1959 I decided to visite the USA , I become a american Citzen and I had my musical carrer flourished here,.
It is uncultured minds of a persons in positions of power that has created great problems in offering help to the younger generation of talented musicians in my country since my time living there. The classical music has been suffering a great void of support in Brasil. QUITE A SAD SITUATION STILL HAPPENING THERE…were football, alone cannot measure the CULTURAL level of the country to the world. My sincere wishes for a change.
It was the pianista Artur Rubinstein who said that “THE GREAT MUSICAL TALENTS ARE COMING FROM BRASIL AND RUSSIA….QUITE CORRECT HE REALLY WAS WITH THE COMMENT. Italo Babini